BRIAN VINER 明らかにする／漏らすs The Zone Of 利益／興味 is the most 乱すing 演劇 he's ever seen: A portrait of Nazis playing happy families is one of two 主要な Oscar 競争相手s 価値（がある） watching this week
The Zone of 利益／興味 (12A, 105 mins)
判決: 冷気／寒がらせるing and 説得力のある?
The （民事の）告訴 that there's 'nothing 価値（がある） going to the cinema for' is one I hear a lot, and it's often hard to argue with, but it 持つ／拘留するs no water at all this week as we welcome two of the 競争相手s for Best Picture in next month's 学院 Awards.
I don't think either will be anointed with the Oscar, which, as they say in 冒険的な circles, is Oppenheimer's to lose. But both would be worthy 勝利者s, 特に The Zone Of 利益／興味, a uniquely 乱すing 演劇 about the 大破壊／大虐殺.
Unique, because the 集まり extermination of the Jews, Hitler's abhorrent 'Final 解答', is 現在のd as a glowering but mostly distant 背景, while an 表面上は wholesome tale of family life 広げるs in the foreground.
始める，決める in 1943, the film 焦点（を合わせる）s on the 国内の lifestyle of the Auschwitz commandant Rudolf Hoss (Christian Friedel), his materialistic wife Hedwig (Sandra Huller), and their five children. They live in c onsiderable 慰安 just over the 塀で囲む from the 集中 （軍の）野営地，陣営 he runs with icy efficiency.
After a hard day's work 監督するing 集まり 殺人, Hoss goes home to the same rituals as all loving parents, tucking up his kids at bedtime and reading them stories, while behind him the crematoria chimneys roar. It is as 冷気／寒がらせるing a 演劇 as I have ever seen, yet utterly 説得力のある.
Sandra Hiller 星／主役にするs in The Zone of 利益／興味 as a materialistic wife and mother of five who live in かなりの 慰安 just over the 塀で囲む from Auschwitz
始める，決める in 1943, the film 焦点（を合わせる）s on the 国内の lifestyle of the Auschwitz commandant Rudolf Hoss (Christian Friedel), his materialistic wife Hedwig (Sandra Huller), and their five children
Christian Friedel 星／主役にするs as?the Auschwitz commandant Rudolf Hoss. Although a German-language film, very loosely based on the late ツバメ Amis's 2014 novel of the same 肩書を与える, The Zone Of 利益／興味 is written and directed by an Englishman, the Oscar-指名するd Jonathan Glazer?
Although a German-language film, very loosely based on the late ツバメ Amis's 2014 novel of the same 肩書を与える, The Zone Of 利益／興味 is written and directed by an Englishman, the Oscar-指名するd Jonathan Glazer. It is only his fourth feature in 24 years. But 追加するd to the other three ― Sexy Beast (2000), Birth (2004), and Under the 肌 (2013) ― it 構内／化合物s his status as one of our most singular film-製造者s.
I can't call this his most singular film, given that Under The 肌 featured Scarlett Johansson as a man-eating 外国人 in Glasgow. But it's the most unsettling.
And while Friedel and 特に Huller (another Oscar 指名された人) both give 驚くべき／特命の／臨時の 業績／成果s, in a way the most unnerving character is Hedwig's matronly mother Linna (Imogen Kogge), who arrives to stay 前向きに／確かに bursting with pride at the rich life her daughter has created for herself: the lovely home, the handsome vegetable garden.
Hedwig tells her that 'Rudi' calls her 'the Queen of Auschwitz'. Linna beams ― 'you really have landed on your feet, my child' ― and wonders idly whether the ユダヤ人の woman she used to clean for might be on the other 味方する of the big 塀で囲む? She 追加するs that, frustratingly, she was outbid for the woman's curtains at a street auction. We can only guess at the 激しい 苦しむing and despair 暗示するd by her casual 悔いる.
There is, however, a blot on the Hosses' landscape. It is not, of course, the train steaming in to 配達する more of Europe's Jews to the gas 議会s. It is that Rudolf's superiors want to 移転 him. And Hedwig, more 大（公）使館員d to their lifestyle than to him, hates the idea of leaving. So off he goes to Berlin to argue his 事例／患者 and placate his wife.
The paradox of this remarkable film is that its extraordinariness lies in its depiction of normality. It 具体的に表現するs, spellbindingly, what the philosopher Hannah Arendt was getting at when she wro te about 'the banality of evil'.
American Fiction (15, 117 mins)
判決: Hard to put 負かす／撃墜する??
?In its very different way, American Fiction is just as 吸収するing, and 含む／封じ込めるs another mighty 業績／成果. Jeffrey Wright, too, is up for an Oscar.
He plays world-疲れた／うんざりした Thelonious '修道士' Ellison, an African-American professor who can't find anyone willing to publish his cerebral new 調書をとる／予約する.
一方／合間, to his disgust, another 黒人／ボイコット author, Sintara Golden (Issa Rae), is having 抱擁する success with what he considers a cheap novel stuffed with racial stereotypes and 'ghetto speak'.
So he dashes off a wild parody, ーするつもりであるd to send up everything he hates about white perceptions of 黒人／ボイコット people. But guess what? It becomes a 抱擁する 攻撃する，衝突する, and his スパイ／執行官, to keep 利益／興味 点火（する）d and the money rolling in, 説得するs him to 可決する・採択する a 偽の 身元, pretending the 調書をとる／予約する was 現実に written by Stagg R. Leigh, a jive-talking escaped 罪人／有罪を宣告する on the run.
Jeffrey Wright?plays world-疲れた／うんざりした Thelonious '修道士' Ellison, an African-American professor who can't find anyone willing to publish his cerebral new 調書をとる／予約する
Erika Alexander 星／主役にするs as Coraline と一緒に Mr Wright. American Fiction?skewers beautifully the shallowness of the publishing 産業, but it's a 熱心に 観察するd race satire too
Tracie Ellis Ross (left) 星／主役にするs as Lisa Ellison と一緒に Leslie Uggams who plays Agnes Ellison. Adapted from Percival Everett's 2001 novel Erasure, American Fiction reminded me 堅固に both of The 生産者s (1967) and Tootsie (1982)?
Adapted from Percival Everett's 2001 novel Erasure, American Fiction reminded me 堅固に both of The 生産者s (1967) and Tootsie (1982), which is never a bad thing. But, while there are some hilarious moments, it is a darker film than either.
It skewers beautifully the shallowness of the publishing 産業, but it's a 熱心に 観察するd race satire too.
My only 支配する is that it veers off too often into an 探検 of 修道士's コンビナート／複合体 family dynamics, which didn't 利益／興味 me as much.
But Cord Jefferson, a TV writer who worked on the 攻撃する，衝突する 演劇 Succession and here makes his silver-審査する debut as writer-director, has （手先の）技術d a terrific movie.?
Both films are in cinemas now.
Argylle (12A, 139mins)
判決:? Nuts but fun
Matthew Vaughn's enjoyably bonkers new 秘かに調査する comedy is matched by its extravagantly nutty publicity （選挙などの）運動をする, which a few weeks ago 産する／生じるd the bizarre sight of a group of Chelsea 'fans' ostentatiously 小衝突ing their teeth during the West London derby match with Fulham. Evidently the Chelsea owner Todd Boehly has some 財政上の 関与 in the film.
The men were also pictured 持つ／拘留するing a copy of Argylle the novel, 恐らく written by a young American woman called Elly Conway. There are rumours online that Elly is 現実に Taylor Swift, and other (more 納得させるing) theories that the 調書をとる／予約する was created by AI. Whatever the truth is, the film's a hoot.
It 星／主役にするs Bryce Dallas Howard as 非，不，無 other than the aforementioned Ms Conway, a staid, homely but enormously successful writer of スパイ fiction, 充てるd to her cat, whose life suddenly takes an 予期しない turn when her suspiciously 現実主義の 陰謀（を企てる）s attract the 利益／興味 of real 秘かに調査するs.
Dua Lipa dances with Henry Cavill who 星／主役にするs as the titular character Argylle.?Clocking in at just under two-and-a-half hours, it does start to feel like a bit of an endurance 実験（する） after a while
Sam Rockwell (権利) with Bryce Dallas Howard. Ms Dallas Howard 星／主役にするs as Elly Conway, a staid, homely but enormously successful writer of スパイ fiction, 充てるd to her cat, whose life suddenly takes an 予期しない turn when her suspiciously 現実主義の 陰謀（を企てる）s attract the 利益／興味 of real 秘かに調査するs
The mo 争う goes through some truly preposterous contortions to 設立する whether the characters played by Sam Rockwell, Bryan Cranston and Samuel L. Jackson are goodies or baddies, and on whom Elly's fictional hero, the square-jawed, eponymous Argylle (Henry Cavill), might be based.
Clocking in at just under two-and-a-half hours, it does start to feel like a bit of an endurance 実験（する） after a while. But in the nick of time the whole spectacle is 解除するd by a couple of genuinely exhilarating, laugh-out-loud 活動／戦闘 sequences.
Moreover, the entire cast ― 含むing Dua Lipa, Ariana DeBose, Catherine O'Hara and John Cena ― look like they're having 抱擁する 量s of fun throughout. Which always helps.
ALSO SHOWING...
移住 (U, 83 mins, ****) is a delightful animated comedy about a family of mallards who 長，率いる south for the winter from New England, and are guided to Jamaica by a homesick scarlet macaw given a fruity Caribbean accent by Keegan-Michael 重要な.
K umail Nanjiani 星／主役にするs as the mallard father, Mack in 移住. He is a 危険-averse fellow, only 説得するd to spread his wings by his more adventurous wife Pam
The mallard father, Mack (Kumail Nanjiani), is a 危険-averse fellow, only 説得するd to spread his wings by his more adventurous wife Pam (Elizabeth Banks) and their kids Dax and Gwen. His 苦悩 seems 正当化するd when a villainous New York chef tries to turn them all into duck a l'orange, and then 追求するs them to Florida where, reminiscent of the 最近の Chicken Run sequel, they find that a deluxe holiday home for ducks is pampering them only for the slaughterhouse.
The excellent 発言する／表明する cast also 含むs Danny DeVito, with Awkwafina as the leader of a New York pigeon ギャング（団）, and David Mitchell as a New Agey pekin. It's all 極端に jaunty and colourful, with some 広大な／多数の／重要な flights of fancy and smart one-liners to keep adult chaperones happy (I loved Awkwafina's 'sorry for 破産した／（警察が）手入れするing your 法案s').
My own chaperones were 11-year-old Aharon and his sister Adi, 老年の nine, and they both loved it, pronouncing it 井戸／弁護士席 and truly worthy of four 星／主役にするs. I agree. It's a charmer.
